Lenoir Bittencourt

Movie - 1965, 2h 15m • Main Cast Role

Carlos is a young man from the São Paulo middle class who works for a big company during a time when foreign automobile industries were settling in Brazil. Shortly after, he accepts a job at a factory that makes automobile parts, where he becomes manager. To a certain extent, he is a family man who works hard, earns well and lives unsatisfied. Without any prospects in his life to change the condition he rejects, his last resort is escaping.

Movie - 1968, 2h 15m • Main Cast Role

Born and raised in the misery of Brazilian slums, Jorge becomes a luxury house burglar in São Paulo and gets nicknamed "The Red Light Bandit" by the sensationalist press. In addition to wearing a red flashlight, he talks to his hostages in an irreverent tone and makes bold breakthroughs to later spend the money extravagantly. His world is the decadent neighbourhood of Boca do Lixo.

Movie - 1969, 2h 15m • Main Cast Role

Feature film that brings together three episodes. In "The Signature", a worthless husband tries to rip out his wife's signature to close a deal. "The roof" shows the hardships of a workman who suspects that his wife is dating a trucker. In "The Recipe" a civil servant brags about himself to his friends while his wife goes out with a student.

Movie - 1972, 2h 15m • Main Cast Role

A tireless and incorrigible seducer looks for - and seems to find - the woman of his life.

Movie - 1971, 2h 15m • Main Cast Role

An outstanding performance featuring brilliant storytelling, high stakes drama, and unforgettable character arcs.

Movie - 1975, 2h 15m • as Gerente

Comedy anthology in three segments, each one involving beautiful and uninhibited women.

Movie - 1968, 2h 15m • Main Cast Role

Western spoof. Depicts the conflict between the leader of a gang of country bandits and his former protégé, now a police officer.

Movie - 1970, 2h 15m • Main Cast Role

The story of a fakir who works in a decadent circus. He and his colleagues do weirder numbers each day to attract audience, and warrant their survival. The numbers resemble a horror-show and they get marginalized. Through fable and allegory, reality turns stronger and stronger, and more absurd.